Old Standard TT (2008-2010): a high quality didone 2-style family, suitable for classical, biblical and medieval studies as well as for general-purpose typesetting in languages which use Greek or Cyrillic script, as well as Latin. Many math symbols are included. Old Standard is part of the Google open font directory of free web fonts, and was adapted for TeX use. He writes: Old Standard is supposed to reproduce the actual printing style of the early 20th century, reviving a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. It supports typesetting of Old and Middle English, Old Icelandic, Cyrillic (with historical characters, extensions for Old Slavonic and localised forms), Gothic transliterations, critical editions of Classical Greek and Latin, and many more. People have also started using it for mathematical typesetting.

Tempora LGC Unicode: Kryukov writes Tempora LGC Unicode was my first attempt to create a multilingual font supporting Latin, Greek (including polytonic characters) and Cyrillic scripts. This family is based on two well-known free typefaces similar to Adobe Times: Nimbus Roman No 9 L by URW (russified by Valek Filippov), and the Omega Serif family, developed by Yannis Charalambous. However, all basic components of the font, and especially its Greek and Cyrillic parts, have suffered serious modifications, so that currently Tempora LGC Unicode represents an independent typeface, quite different from its predecessors.Free download site. Many updates were made to the font package, with copyright notices to Michael Sharpe (2015), Alexey Kryukov (2005), URW++ Design & Development (1999), Valek Filippov (2001), Dmitry 40in (2001), The Omega Project (1996), and the Free Software Foundation (2002, 2003).

Theano Classical fonts: TheanoDidot is a classicist face, with both its Roman and Greek parts implemented in Didot style. Theano Modern has Greek letters designed in the Porsonic style. It is based on Figgins Pica No. 3 / Small Pica No. 2, one of the most successful Porsonic Greek typefaces. Theano Old Style is a modernized "Old Style" Greek font with a large number of historic ligatures and alternate forms, modelled after some early 19th century types designed by Figgins' type foundry. It is accompanied by a Latin typeface based on some "Old Style" Roman fonts of the late 19th and early 20th century.

CM-LGC (2003): The CM-LGC package contains Type 1 fonts converted from METAFONT sources of the Computer Modern font families. The following encodings are supported: T1, T2A (Cyrillic), LGR (Greek) and TS1. This package includes also Unicode virtual fonts for use with Omega/Lambda. CM-LGC is the first Type 1 font package for LaTeX which supports all European scripts (LGC means Latin, Greek and Cyrillic). Alexej Kryukov used Textrace to create CM-LGC.

He contributed to the GNU Freefont project via FreeSerif Cyrillic, and some of the Greek symbols. He also provided valuable direction about Cyrillic and Greek typesetting.

Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike.

Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish). See also here and here. [Google]
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Aoife is an Irish typeface designer and teacher. She has a BA degree in Visual Communications from Dublin Institute of Technology and an MA in Typeface Design from the University of Reading in 2010. Alongside her freelance practice, Aoife is an Assistant Professor at Kent State University, where she teaches typography and typeface design. Before moving to Akron, Ohio, Aoife worked as part of Hoefler & Co design team in New York (joining in 2011), developing Idlewild, Surveyor, and other typefaces. Most recently she worked with Frere-Jones Type on Mallory, and did some projects for Google.

She designedMagnimo while at Reading. Aoife writes: from the Latin Magna, meaning great or large, and the Indic Anima, meaning spirit or soul. Magnimo is a big-hearted typeface with many moods and voices. I am quite impressed by this three-style typeface (Regular, Italic, UprightItalic), which, with its lively angular design, seems just right for green party and energy drink magazines. All the extra features expected of a 2010 typeface are there, including a matching and nicely balancedGreek, and coverage of most European diacritics. Additional scans: i, ii, iii.

Xanthi-based designer of the Greek type1 font family Phaistos (2004, with Stratos Doumanis). He also created the "oinuit" system, a set of Lambda (Omega LaTeX) typesetting tools for the Inuktitut language which comes bundled with the type 1 family Inuit (2002). In 2007, he published the Philokalia package, which includes a free Philokalia OpenType font developed with Ioannis Gamvets. It was specially made to print the Philokalia books. The UM Typewriter font family (2008, for OpenType fonts) is a monospaced font family that was built from glyphs from the CB Greek fonts, the CyrTUG Cyrillic alphabet fonts ("LH"), and the standard Computer Modern font family. Epi-Olmec (2008) is an Aztec dingbat font. In support of the Open Font Library, he created the rune font Icelandic (2008: this font includes most "magical" staves that have been used in Iceland. Original drawings from the Museum of Sorcery&Witchcraft). He also made Asana Math (2007), which references Young Ryu (2000) and Claudio Beccari (1997-1999).

In 2016, Pablo Garcia Risueño, Apostolos Syropoulos and Natalia Verges launched the free package SVR Symbols. The glyphs of this font are ideograms that have been designed for use in Physics texts. Some symbols are standard and some are entirely new.

Still in 2016, he designed the calligraphic Greek font Frederika2016 as an attempt to digitize Hermann Zapf's Frederika font. The font is the Greek companion of Virtuosa by the same designer.

Originally from Reykjavik, Atli Þor Árnason is studying at The School of Visual Communication in Haderslev, Denmark. He created the runic and/or Futhark simulation typeface Ristir (2011), a typeface that was heavily inspired by The Elder and The Newer Futhark alphabet.

The 2011 ATypI conference took place in Reykjavik, Iceland, from September 14-18, 2011, at the Harpa Concert Hall. The theme was the letter eth. This may well have been the first ATypI meeting in which the host country's President addressed the assembly. The local organizing team was led by Gunnar Vilhjalmsson and Hörðu Lárusson, and the conference was supported by the Association of Icelandic Graphic Designers, the Icelandic Academy of the Arts, and the Icelandic Design Center. The ATypI Reykjavík logo was designed by Birna Geirfinnsdóttir, using the typeface Frijky by Neelakash Kshetrimayum. Program. The stratospheric registration fee of 895 USD ensures that ATypI survives for another year---it has nothing to do with the actual expenses of the meeting.

Born in Iceland, Daniel is a graduate of the University of Iceland. During his studies at IOED in Barcelona, he created the shiny rounded bubblegum typeface Bubble (2012) and the pixel typeface Acid Make-Out (2012, FontStruct). [Google]
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Icelandic graphic designer. In 2008, during a course called Holy Geometry at the Academy of the Arts in Iceland, he created the geometric modular typeface Rotunda. In 2009, he made the sans headline faceVesuvio. [Google]
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During a type design course at Iceland Academy of the Arts in 2011, Einar Guðmundsson (Reykjavik) made the Harmony typeface based on some letters by Wim Crouwel's typeface Stedelijk. Behance link. [Google]
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Frosti Gnarr Studio is a creative and graphic design studio in Seltjarnarnes, Iceland. Its art director is Frosti Gnarr, who has an MA from HKU in The Netherlands. He designed a few experimental and other typefaces in 2012. [Google]
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Icelandic type designer who used to run the GUNMAD site. In 2007, he set up the Type foundry Or Type together with Mads Freund Brunse.

Guðmundur Úlfarsson (b. 1984, Reykjavik) created Las Vegas (2011, custom made for Off Beat Cinema Magazine), L10 (for the LungA 10 yearbook---this typeface won the prize for best type design in Iceland in March 2011), Separat (done with Mads Freund Brunse, and used in Sigrún Halla Unnarsdóttir), and L11 (for LungA 2011, also done with Mads Freund Brunse).

Ryman Eco is a free multilined typeface created in 2014 by Dan Rhatigan and Gunnar Vilhjálmsson at Monotype that satisfies its two design goals---beauty and economy (it uses 33% less ink than a normal text font).

In 2015, he developed a bespoke typeface for The Gourmand Magazine in cooperation with The Gourmand's artistic director, David Lane. The resulting typefaces, Gourmand Grotesque 777 and 888 won a bronze medal at the 2015 European design Awards competition.

Briem is a fantastic Icelandic calligrapher and type designer! Some of his work may be viewed at Adobe, in particular Adobe's multiple master font Briem script. Fonts include BriemGauntlet (1997). He designed BriemTimes in 1990, which was the basis for Times Millenium, used by The Times (read about the controversy at that page). He also made BriemAkademi (1997-2002), BriemGauntlet, BriemMono (2001, typewriter face), BriemOperina and BriemScript.

In 2015, he teamed up with Hasan Abu Afash for the fat calligraphic didone display typeface HS Headline that covers Latin (Briem's contribution) and Arabic (by Afash, based on the simple lines of Naskh calligraphy).

Handwriting Models An Icelandic Manual, 1883, was written by Benedikt Gröndal (1826-1907), an Icelandic poet, painter, draftsman, calligrapher and library historian. After a master's degree in Scandinavian Studies from the University of Copenhagen in 1863, he taught, wrote, and published a periodical, Gefn. In 2007, a foreword and useful introduction to handwriting models was added by Gunnlaugur Briem, and he placed all on his web site for free download. I quote: In 1875, Denmark changed handwriting models, replacing blackletter cursive by copperplate. This extended to its Icelandic dominion, where copybooks and model sheets in the new style were in short supply. Eight years later, a much needed handwriting manual by Benedikt Gröndal was published. The old style and the new are similar in appearance but have different letterforms. This picture shows the old blackletter cursive (top) and the new copperplate (bottom)---it was taken from Almanak Hins íslenzka þjóðvinafélags, Copenhagen (1877). Gröndal's copperplate and Gröndal's ronde. The foreword by Briem also shows a Danish ronde that appeared in Rundskrifts-Bogen; til Skolebrug og Hjemmeøvelse, ca. 1880. He also grabs the opportunity to showcase the most handsome of all Icelandic copperplate models done by Jón Þórarinsson in Skrifbók með forskriftum, 1. hefti (Reykjavík, ca. 1896). The American Palmer method, more open but less gracious, is illustrated in this alphabet from 1922 by Steingrímur Arason (from Litla skrifbókin, Reykjavík. Variants of this are shown in the alphabets of Guðmundur I. Guðjónsson, published between 1939 and 1953. Briem concludes: Handwriting based on copperplate was largely abandoned in Icelandic schools in 1984. It was replaced by italic, a modern monoline version of renaissance handwriting that owes much to Ludovico Arrighi's approach. A large selection of model sheets in this style is available for free download from the internet. He also shows Italiuskrift05, his own suggestion for schools. [Google]
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Illustrator and designer in Reykjavik. Creator of the Replica font system in 2012. She writes: The font Replica was made in 2011 in a course taught by Amundi Sigurðasson. The font is based on two very different typefaces called Autoscape and History. Autoscape is very robotic monospace font and History is a font that consists of 20 layers, each representing a different period in type history. Replica is a monospace typeface that has seven layers that can be rearanged in any way, styles ranging from robotic to romantic. [Google]
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Icelandic graphic designer, b. Reykjavik. He created the fat finger typeface Skar (2006) and designed many music album covers. About his experimental typeface Morthens (2007), he writes: Morthens is a strict script display typreface. The brief was to find a type typeface and design another typeface based on that. I decided to use a script typeface called Vitrina by Pablo Medina. I used it because I liked the method he uses creating his typefaces. He takes picture of his urban surroundings and bases his typefaces on them. I created a typeface based on the most prominent thing in my urban surrounding at the moment which is construcion sites. It has three weights called Ásbjörn, Þorlákur and Haukur. [Google]
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Maggi Noem graduated from the Icelandic Academy of the Arts in 2007. She has been living and working freelance since then in Reykjavík, Iceland. Designer of the monoline display typeface Flu (2009). [Google]
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Nadja Kargruber (Nana Kar, Reykjavik, Iceland) was born in Italy and grew up in Tesido in northern Italy. She graduated from the Accademia Leonetto Cappiello in Florence in 2014 before moving to Iceland. She designed these typefaces in 2014: Aventa (human figurines) and Allure (ultra-condensed thin sans). Behance link. [Google]
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Reykjavik, Iceland-based design and software company. At CERN Hackday in 2013, they designed the free monospaced computer programming font Meyrin or Meyrin CERN terminal): First you need to create an SVG file for each glyph. There is a template.svg which can be used to create new glyphs. There is a descender of two units and ascender of 3 units. This is used for diacritics. Once each glyph is an individual SVG file, you can import them into a font creation tool. We used the online service http://icomoon.io From this we upload and map each SVG file to a specific unicode code point. We did some final tweaks in font forge to get the space character and additional metadata. We completed all the characters which are available on the IBM System 6000 keyboard. We ran a simple script to output all available characters, took screenshots and tried to create these as well. This is not a complete Unicode font, but you are welcome to fork the repo and create additional glyphs as needed.Open Font Library link. [Google]
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Art director and graphic designer Mads Fruend Brunse (b. Denmark) is based in London. After graduating from ECAL (Lausanne) in 2009, Brunse has experience from working with people such as Node Berlin Oslo (Germany), Vladimir Llovet Casademont (Germany), Sofie Spindler (The Netherlands) and OK-RM (UK). Since 2007 he is collaborating with Guðmundur Ingi Úlfarsson (Iceland) under the name GUNMAD. In March 2013, he set up the typefoundry Or Type together with Úlfarsson.

In 2013, Or Type offered these sans typefaces: La Pontaise Bold (contrasted, Peignotian style), Rather Semibold (wide grotesk), L10 Bold (geometric sans), Separat. Some of these typefaces are leftovers of the earlier GUNMAD typefoundry: L10 was orinally done for the LungA 10 yearbook---this typeface won the prize for best type design in Iceland in March 2011, and Separat was used in Sigrún Halla Unnarsdóttir. Mads Brunse also designed L11 (also for LungA) in 2011.

Newer fonts include Landnama, Boogie School (reverse stress typeface), and Boogie School Serif.

Icelandic linguistics professor at the University of Stockholm. Since 1989, he has made fonts for phonetic transcription and fonts for writing out Old Icelandic as it appears in Icelandic manuscripts. He also works with the Árni Magnússon Institute in Iceland, an institute devoted to the preservation and publication of Icelandic manuscript texts. With two other Icelanders, Jörundur Hilmarsson and Sigurdur H. Pálsson, he has made these fonts, which hopefully will soon be available for free download:

Reykjavik, and Akureyri: For the transliteration of Old Icelandic manuscripts.

I-E Font 1 through 4: For Indo-European comparative linguistics.

Stentoften: an advanced runic font.

Latinskij historik: A Cyrillic font that includes symbols useful for work in Slavic historical linguistics.

Icelandic graphic designer, illustrator and type designer, b. 1984 in Akureyri, a small town on the north coast of Iceland. He graduated from the Iceland Academy of the Arts in Reykjavík in 2006. He now lives in London and/or Berlin. Old URL. His creations:

Bútasaumsletur (2005): a typeface inspired by patchwork quilts. Each letter is a block, and when you write a text with it, the blocks connect to each other, so in the end you have some kind of a digital quilt.

Skuggasveinn (2006-2007): a 3d-folded paper style typeface made in collaboration with Gunnar Vilhjalmsson.

Grasrot (2005): Headline typeface for the catalogue of Grasrot, an exhibition held in Reykjavik, showcasing young and upcoming Icelandic artists. Done in collaboration with Gunnar Vilhjalmsson.

Pulsa (2005): a hot-dog themed typeface.

Tundurdufl: Based on German poster grotesks, ca. 1900, and constructed according to a special grid.

A nice quote by him: Designing a proper typeface is a difficult and boring process. When you've sketched down your main ideas, there is not much room for creativity, it just becomes hard labor, a bit like doing the dishes. [Google]
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Sigurður Oddsson or Siggi Odds or Siggi Oddsson, was born in Reykjavík, Iceland, in 1985, but spent a large part of his childhood in Vancouver, Canada. He graduated from college (in science) in 2005 and graduated with a B.A. degree in graphic design from the Iceland Academy of the Arts in Reykjavík, Iceland in the spring of 2008. He is an illustrator and graphic designer. Typefaces created by him include Sniðagrind (2007, an experimental typeface inspired by Gateway, by designer Stephan Müller), Kögra (2006, a typeface based on fractals made at The Iceland Academy of the Arts), and Aryan Monkey (2007, a curly font done with Sveinn Daviðsson). [Google]
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With a BA in visual communication from the Icelandic Academy of the Arts, Reykjavik-based Sigríður Rún created Icelandic Alphabet (2013), a typeface that consists of skeletal structures. Behance link. [Google]
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Graphic designer in Reykjavik, Iceland, who works for Glamour Iceland and Condé Nast, and graduated from Iceland Academy of the Arts in 2016. Her full name is Rakel Tómasdóttir. In 2015, she created the high-contrast fashion magazine typeface Glam, which is used in Glamour Iceland Magazine.

She set up Silk Type in 2017 and prompltly published the high-contrast fashion mag typeface family Silk Serif.

Designer (b. Siglufjordur, Iceland), who got a BA in graphic design from Iceland Arts in 1993, and lived in Reykjavik. He took a job in Atlanta, GA, designing for CNN.com. In the next five years, Stefan worked his way from interactive designer to creative director. He co-founded the interactive agency Armchair, and has directed projects such as Coca-Cola's M5.

His typefaces:

GOR (1996) at GarageFonts, an English font with a Cyrillic/Armenian feel, expanded to a ten-font family in 2002.

In 2010, he created the Armchair Modern family of elliptical sans typefaces, from AGauge (hairline) to EGauge (very fat and yummy)---Armchair Modern was derived from the logo created for Armchair Media Group by Stefan Kjartansson. Its shape is influenced by the long elliptic forms of furniture and TV tubes. The design is ultra-modern, reminiscent of work by Mark Newson and Arne Jacobsen furniture. Homepage at Armchair Media.

Graphic designer and illustrator in Reykjavik, Iceland. Creator of the decorative caps typeface There Be Monsters (2013), which is based upon the illustrations found on a 1598 map of Iceland drawn by Abraham Ortelius. [Google]
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Sveinbjörn Pálsson (Reykjavik, Iceland) studied graphic design at the Iceland Academy of The Arts in Reykjavík. He has had a varied career in design, with work in magazine design, interaction design, art direction, tomb-stone lettering, custom type design and other fields. He graduated in 2012 from the TypeMedia program at KABK, Den Haag.

At KABK, he designed the rounded sans serif family Sultan (2012) and Paperclip People (2012).

In 2014, he created Eve Sans Neue. Eve Online is a massively multiplayer space trading game. It is developed by CCP in Iceland. The interface typeface for Eve was drawn as a pixel font by Friðrik Örn Haraldson, and later converted into a vector font. Sveinbjörn was asked to redraw it, specifically to make it more legible.

Sveinn Þorri Daviðsson was born and raised in Akureyri on the north-east side of Iceland. He moved to Reykjavik in 2005 to study graphic design at the Iceland Academy of the Arts (B.A. degree in 2008). After his graduation, he moved to Berlin, where he shares a studio space with his friend Siggi Eggertsson. His typefaces:

Type aficionado in Neskaupstaður, Iceland, who created these free fonts: Kilde Sans (2015, Open Font Library: the uprights from Paul Hunt's Source Sans Pro with about three degrees of right slope), Ajar Sans (2015, Open Font Library: the uprights from Google's Open Sans with about three degrees of right slope). Typophile link. Home page. [Google]
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A free instruction booklet by Gunnlaugur S.E. Briem written in 1985, and concerned with handwriting education for Icelandic children. Nan Jay Barchowsky, who published it in her series called Cursive Italic News says: The Ministry of Education in Iceland is introducing italic handwriting in schools. That is the result of pressure from teachers who were dissatisfied with the style they had, a copperplate-based business hand. A group of Icelandic teachers who are interested in experimental teaching of italic formed a working party last year, They were interested in the method and asked Briem to put together instructions that could be used with children by teachers who had little or no experience with italic. The members of the working party initially paid for the printing out of their own pockets. Dr. Gunnlaugur S.E. Briem donated his work. The scheme has been very well received. Letters of support have come in from handwriting experts in many parts of the world, Education authorities in other countries have suggested collaboration. The PDF showcases three font families by Briem himself, Italiuskrift05 (his casual handwriting for instructions, dated 1985), BriemAnvil06 (serif family) and BriemAnvilSans07 (sans family). [Google]
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Þorleifur Gunnar Gíslason is a graphic designer in Reykjavik, Iceland, and graphic design student at the Iceland Academy of the Arts. In 2009, he made Coffee, a font based on coffee beans laid out on a flat surface. In 2011, he designed the experimental geometric (cubist?) typeface Ásmundur, which was inspired by Cassandre's Bifur and is a tribute to Icelandic sculpture artist Ásmundur Sveinsson. [Google]
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Úlfur Kolka is a graphic designer in Reykjavik, Iceland (and now, Inglewood, CA), who created the poster lettering typeface Andmaeli (2010), which is based on Helgi Hoseasson's protesting signs. Home page. [Google]
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Czech graphic design, photography and type design studio run by Matej Hlavacek (b. 1977, Prague). Matej studied Graphic Design at AAAD in Reykjavik/Iceland. Later he moved to Prague and attended the master program in Studio of Typography under the supervision of Frantisek Storm at AAAD. In 2009 he founded Vesturbaer Studio together with photographer Jiri Hronik. His fonts: